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Hua Yan(1682~1756) was one of the most versatile painter in 18th century Yangzhou. Qin Zuyong pronounced in Tongyin Lunhua, that Hua was able to “open new territories and be imbued with a spirit akin to Nature’s wonders.” Huashi Zupu informed us some significant events of his early years in Hangzhou, Suzhou and Beijing; “Because the family was poor, he had to forsake his aspiration for the civil examination and make his living through his skill with the brush in the Wu and Yue regions ……. He traveled to Beijing, and summoned to take the examination. Graded at a superior class, he was given the post of assistant magistrate and returned.” In his post Beijing days he constant traveled between Hangzhou, his adopted city and Yangzhou, where he sought potential patrons for his paintings. Under the generous patronage of Yuan Guotang he could established himself as a professional painter in Yangzhou. Hua Yan’s poems were published posthumously under the title Ligouji or Collection of Poems from Jietaoguan, naming the studio at his Hangzhou retirement home.
Hua Yan’s subjects encompass the figure, landscape, flower and animals in a variety of styles. In his flower-bird painting Hua Yan drew on a number of disparate styles such as the boneless style of Yun Shouping and the xieyi-style of Lin Liang and Zhu Da, while his figure painting demonstrates indebtedness to Chen Hongshou and Ma Hezhi. In his landscape he was bound to absorb Shi Tao’s influence, which had pervaded the city of Yangzhou since that master resided there. In addition to these masters Hua Yan’s indebtedness to illustrated books such as Jieziyuan Huapu and Sancai Tuhui is demonstrated by numerous flower-bird and figure paintings, spanning from his early period works through to those of his later years.
Considered to be marginal painter during his lifetime, Hua Yan was to receive phenomenal recognition posthumously. Jiang Baoling, the author of Molin Jinhua, took great pains to refute Zhang Geng’s assertion that Hua Yan’s landscapes fell short of expectations because the master strove relentlessly toward tuo, meaning ‘breakthrough.’ Jiang countered this with the opinion that Hua Yan was at his best when he was least encumbered with details, when he was free and simple. Many 19th century artists considered themselves his followers, including Gai Qi, Wang Su, Ni Tian and the individualist monk painter Xu Gu who frequently cited his indebtedness to Hua on his depiction of squirrels.
Hua Yan’s subjects encompass the figure, landscape, flower and animals in a variety of styles. In his flower-bird painting Hua Yan drew on a number of disparate styles such as the boneless style of Yun Shouping and the xieyi-style of Lin Liang and Zhu Da, while his figure painting demonstrates indebtedness to Chen Hongshou and Ma Hezhi. In his landscape he was bound to absorb Shi Tao’s influence, which had pervaded the city of Yangzhou since that master resided there. In addition to these masters Hua Yan’s indebtedness to illustrated books such as Jieziyuan Huapu and Sancai Tuhui is demonstrated by numerous flower-bird and figure paintings, spanning from his early period works through to those of his later years.
Considered to be marginal painter during his lifetime, Hua Yan was to receive phenomenal recognition posthumously. Jiang Baoling, the author of Molin Jinhua, took great pains to refute Zhang Geng’s assertion that Hua Yan’s landscapes fell short of expectations because the master strove relentlessly toward tuo, meaning ‘breakthrough.’ Jiang countered this with the opinion that Hua Yan was at his best when he was least encumbered with details, when he was free and simple. Many 19th century artists considered themselves his followers, including Gai Qi, Wang Su, Ni Tian and the individualist monk painter Xu Gu who frequently cited his indebtedness to Hua on his depiction of squirrels.
목차
Ⅰ. 머리말
Ⅱ. 華嚴의 生涯
Ⅲ. 華嚴의 繪畵
Ⅳ. 後代의 평가와 영향
Ⅴ. 맺음말
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